Graduate Admission to the School of Music

1. Apply to the University

2. Submit Supplemental Materials

Once the application is submitted and the application fee is paid, an email will be sent with instructions for submitting the supplemental pieces of the application. Applicants will be required to provide the following:

Two Completed recommendation forms from individuals who know the applicant's musical abilities. At least one recommendation must be completed by an individual who can address the applicant's accomplishments and potential in the academic classroom setting.

A list of repertory studied in the principal performing area.

A copy of a program from a junior and/or senior undergraduate recital.

Official transcripts of all previous college and masters level work. International applicants with college level coursework from foreign institutions must have their transcripts evaluated by a credential evaluation service such as World Education Services (wes.org). Applicants must have a minimum of a 3.0 cumulative GPA. Students who have earned below a 3.0 may be considered on a case-by-case basis.

3. Audition for the School of Music

All applicants are required to audition for the School of Music. All auditions will be accompanied by an info session with Ms. Kathryn Paradise, the Assistant Director of the School of Music.

Auditions Dates:

Saturday, November 2, 2019 (for Classical Majors only)

Friday, January 17, 2020

Friday, February 7, 2020

Friday, February 28, 2020

Audition Requirements by Program

Master of Music in Church Music

The audition day will consist of a live audition with our performance faculty, and an interview with the Assistant Director of the School of Music, Ms. Kathryn Paradise. The interview includes a conversation about the candidate’s goals, information about the program, and a review of the applicant's coursework and transcript. Please note, students wishing to pursue conducting as their principal will need to submit a video audition, and are not required to come to a live audition.

Voice

All repertoire should be from sacred literature:

An art song in either of the following languages: French, German or Italian

A 20th century art song in English

An aria from the standard operatic or oratorio literature sung in the original language

Instrumental

Two (2) works appropriate to the instrument that demonstrates two (2) distinctly different styles. This includes individual pieces, sonata or concerto movements, or (Percussionists, please see MM Performance auditon requirements for suggested repertoire.)

Demonstrate a proficient knowledge of scales and arpeggios

Applicants may substitute one music selection suitable for a service of worship for one of the repertoire pieces listed above

Piano

A substantial Baroque work by a composer such as Bach, Handel or Scarlatti, OR a sonata movement by Beethoven, Haydn or Mozart

A substantial work by a 19th century composer such as Brahms, Chopin, Liszt, Mendelssohn or Schumann; or a 20th century work or movement from a work by a composer such as Barber, Bartok, Copland, Debussy, Hindemith, Prokofiev or Ravel

Demonstrate a proficient knowledge of scales, arpeggios, and sight-reading

Applicants may substitute one music selection suitable for a service of worship for one of the repertoire pieces listed above

Organ

A work by J.S. Bach or other important Baroque composer for organ

A 19th century work by a composer such as Franck or Mendelssohn

A 20th century work by one of the following: Dupre, Hindemith, Langlais, Vierne, or Widor

Applicants may substitute one music selection suitable for a service of worship for one of the repertoire pieces listed above

Conducting for Church Music:

Students wishing to pursue conducting as their principal will need to submit a video audition, and are not required to come to a live audition.

A conducting audition or a video of you conducting an ensemble. (Please select the video submission option on the Graduate application and submit the video via email to the Graduate Administrative Assistant)

A complete conducting repertoire list

An interview with a Graduate Conducting Faculty member. The interview portion can be in person on over the phone.

Master of Music in Commercial Music

Pre-Screening Audio Recording Requirements

As a part of the application process for the MM in Commercial Music all applicants must submit a pre-screening recording of existing repertoire. The repertoire on the recording should match the emphasis area to which the applicant is applying for admission: Performance or Media Composition and Arranging. Applicants to the Media Composition and Arranging track must also submit full scores to accompany all submitted recordings.

This recording must be received no later than one month before the desired published audition date and approved by the Belmont University School of Music Graduate Admissions prior to attending a live audition and interview.

If any recording submissions are excerpts, the liner notes should indicate where in the full score they occur.

PDF of scores to accompany each composition

Live Audition Requirements for MM in Commercial Music

All students whose pre-screening recording is accepted must come to campus for an audition and interview with the Assistant Director of the School of Music and selected commercial faculty members within the applied discipline. Applicants must also demonstrate their musicianship and skills in the field of commercial music as described below:

Performance Emphasis

Perform 3 pieces with a basic rhythm section (Drums, Piano, Bass, and Guitar). The School of Music will provide the rhythm section for the audition.

Provide accurate and readable charts and arrangements for the rhythm section. See Examples, adapted as desired. Singers should prepare the charts in the key of performance.

Be prepared to coach the rhythm section with minimal rehearsal time.

Demonstrate the ability to sight-read a selection provided by the faculty adjudicators. Instrumentalists should be prepared to perform one piece as a soloist (can be accompanied or unaccompanied). String players must play their choice of one major 3-octave scale and its parallel minor scale along with their respective arpeggio systems.

*Commercial String Applicants specific requirements:

I. Perform 3 tunes to be selected from the following styles and guidelines. For each tune, provide a readable chart and arrangement for the rhythm section:

·A transcription of any style, from a well-known artist or band ·A standard or jazz tune which includes improvisation.·A tune from the fiddle repertoire (be it American, Canadian, Mexican, Irish, Scottish, etc.)

Be prepared to demonstrate efficient rehearsal skills, and ability to communicate professionally with the rhythm section with minimal rehearsal time.

II. String players should prepare their choice of one major 3-octave scale and its parallel minor scale along with their respective arpeggio systems, and two octave blues scales in all keys, going through the circle of fifths

III. String players should prepare a movement from Bach unaccompanied. Memorization is not required.

Media Composition and Arranging Emphasis

Note: The Media emphasis focuses primarily on instrumental and vocal composition and arranging and is not a songwriting program. Files too large to email should be shared through Dropbox or Google Drive.

Submit 3 compositions (printed scores and recordings) different from the pre-screening submissions

Interview with Commercial Arranging Faculty (in addition to the required session with the Assistant Director of the School of Music).

Master of Music in Composition

The audition day will consist of an interview with Composition faculty and an info-session with the Assistant Director of the School of Music, Ms. Kathryn Paradise. The interview with Composition faculty consists of a review of the submitted materials and discussion about compositional aptitude. The session with the Assistant Director includes a conversation about the candidate’s goals, information about the program, and a review of the applicant's coursework and transcript.

Please ensure this is a high quality MP3 file (160kbps at 44.1 kHz sample rate), or a link to a high quality YouTube recording.

A repertory list of all compositions.

Master of Music in Music Education

The audition day will consist of a live audition with our performance faculty and an interview with the Assistant Director of the School of Music, Ms. Kathryn Paradise. The interview includes a conversation about the candidate’s goals, information about the program, and a review of the applicant's coursework and transcript.

(Applicants for the MM in Music Education who plan to pursue the THESIS TRACK for their Culminating Project, may substitute for the audition a video teaching a lesson or rehearsal which proves evidence of their musicianship. Please select the video submission option on the Graduate application and submit the video via email to Rebecca Dean)

Audition requirements:

Voice

An art song in one of the following languages: French, German or Italian

A 20th century art song in English

An aria from the standard operatic or oratorio literature, sung in the original language

Instrumentalists

Two (2) works appropriate to the instrument that demonstrates two (2) distinctly different styles This includes individual pieces, sonata or concerto movements or etudes. (Percussionists see MM Performance Major audition requirements for suggested repertoire.)

Demonstrate a proficient knowledge of scales and arpeggios

Piano

A substantial work from the Baroque repertoire by composers such as Bach, Handel, Haydn or Scarlatti; or a sonata movement by Beethoven, Haydn, or Mozart

A substantial work by a 19th century composer such as Brahms, Chopin, Liszt, Mendelssohn, or Schumann; or a 20th century or movement from a work by a composer such as Barber, Bartok, Copland, Debussy, Hindemith, Prokofiev, or Ravel

Demonstrate knowledge of scales, arpeggios and sight-reading.

Organ

A work by J.S. Bach or another important Baroque composer for organ, specifically

A 19th century work by a composer such as Franck or Mendelssohn; or a 20th century work by one of the following: Dupre, Hindemith, Langlais, Vierne, or Widor

Demonstrate knowledge of scales and sight-reading.

Conducting for Music Education

Please note, students wishing to pursue conducting as their principal will need to submit a video audition, and are not required to come to a live audition.

A video (DVD or online, i.e. YouTube) of you conducting an ensemble. (Please select the video submission option on the Graduate application and submit the video via email to Rebecca Dean.

A complete conducting repertoire list

An interview with a Graduate Conducting Faculty member. The interview portion can be in person on over the phone.

Master of Music in Pedagogy

The audition day will consist of a live audition with our performance faculty, and an interview with the Assistant Director of the School of Music, Ms. Kathryn Paradise. The interview includes a conversation about the candidate’s goals, information about the program, and a review of the applicant's coursework and transcript.

Audition requirements:

Voice

Three (3) art songs and one (1) aria should be offered at auditions in the following languages: Italian, German, French, and English for a total of four (4) selections. The aria must be from the operatic or oratorio repertoire in the original language

Instrumental

Two (2) works appropriate to the instrument that demonstrates two (2) distinctly different styles. This includes individual pieces, sonata or concerto movements or etudes (Percussionists see MM Performance Major audition requirements for suggested repertoire)

Demonstrate a proficient knowledge of scales and arpeggios

Piano

1. A substantial work from the Baroque repertoire by such composers as: Bach, Handel, Haydn or Scarlatti; or a sonata movement by Beethoven, Haydn, or Mozart

A substantial work by a 19th century composer such as Brahms, Chopin, Liszt, Mendelssohn, or Schumann; or a 20th century movement from a work by a composer such as: Barber, Bartok, Copland, Debussy, Hindemith, Prokofiev, or Ravel

Demonstrate knowledge of scales, arpeggios and sight-reading

Organ

A work by J.S. Bach or another important Baroque composer for organ, specifically

A 19th century work by a composer such as Franck or Mendelssohn; or a 20th century work by one of the following: Dupre, Hindemith, Langlais, Vierne, or Widor

Demonstrate knowledge of scales and sight-reading

Master of Music in Performance

The audition day will consist of a live audition with our performance faculty, and an interview with the Assistant Director of the School of Music, Ms. Kathryn Paradise. The interview includes a conversation about the candidate’s goals, information about the program, and a review of the applicant's coursework and transcript.

Audition requirements:

Voice

Three (3) art songs and one (1) aria in the following languages: Italian, German, French, and English for a total of four (4) selections. The aria must be from the operatic or oratorio repertoire in the original language.

Nashville Opera Fellows applicants will present two (2) arias and two (2) art songs, representing all four languages: Italian, German, French, and English for a total of four (4) selections. The aria must be from the operatic or oratorio repertoire in the original language.

Instrumental 1. Two (2) works appropriate to the instrument that will demonstrate two (2) distinctly different styles, including individual works, sonata movements or etudes. 2. A movement from a concerto that has been written for the instrument. 3. Scales and sight-reading 4. Detailed audition expectations for percussion applicants are as follows:

A four (4) mallet work for marimba by one of the following composers: Abe, Bach, Gomez, Helble, Musser, Rosauro, Smadbeck, or Stout

A three (3) or four (4) drum composition for timpani by one of the following composers: Beck, Bergamo, Carter, Firth, Goodman, Leonard, Peters, or Whaley.

An appropriate work for snare drum or multi-percussion. Appropriate works for snare drum would include those by such composers as Colgrass, Goldenberg, Hurley, Markivich, Pratt, Smith, Wilcoxon, and Wooten; for multi-percussion, composers such as Cage, Cahn, Fink, Kraft, Tagawa, and Whaley provide suitable repertoire from which to choose.

Demonstrate scales and arpeggios on marimba, various rudiments for snare drum, and tuning proficiency on timpani.

Organ 1. A work by J.S. Bach or other important Baroque composer for organ. 2. A 19th century work by a composer such as Franck or Mendelssohn 3. A 20th century work by one of the following: Dupre, Hindemith, Langlais, Vierne, or Widor 4. Demonstrate knowledge of appropriate pedal exercises and pedal scales.

Piano 1. A substantial Baroque work by one of the following composers: Bach, Handel, or Scarlatti or a sonata movement by Haydn, Mozart, Beethoven or Schubert. 2. A substantial work by a 19th century composer such as Brahms, Chopin, Liszt, Mendelssohn, or Schumann. 3. A work from the 20th century by composers such as Barber, Bartok, Copland, Debussy, Hindemith, Prokofiev, or Ravel. 4. Demonstrate knowledge of scales and arpeggios.

Deadlines:

Commercial Applicants must submit the following 4 weeks prior to the selected audition date:

Pre-Screen Audition

Application

All supplemental pieces of the application

Classical Applicants must submit the following 3 weeks prior to the selected audition date:

Application

All supplemental pieces of the application

Questions?

For questions regarding the application or the admissions process, please contact: